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THE WEDDING OF A PRINCESS. 295
though guiltless of furniture, as all Japanese rooms
are, is yet resplendent with gilt-paper screens, bronzes,
tiny lacquered tables, and the nuptial emblems. On
the walls hang three pictured scrolls of the gods of
long life, of wealth, and of happiness. On a little
low table stands a dwarf pine-tree, bifurcated, and
beneath it are an old man and an old woman.
Long life, a green old age, changeless constancy of
love, and the union of two hearts are symbolized by
this evergreen. In the tokonoma, or large raised
recess, are the preparations for the feast, the wine-
service consisting of gold-lacquered kettles, decan-
ters, and cups of Hizen porcelain.
On two other tables are a pair of white storks and
a fringed tortoise. All through the rooms gorgeously
painted wax-candles burn. The air of the apartment
is heavy with perfume from the censer a representation
in bronze of an ancient hero riding upon a
bullock. All the guests are seated upon the floor.
With a Japanese marriage neither religion nor the
church has anything to do. At the wedding no robed
priest appears officially among the guests. The mar-
riage is simply a civil and social contract. In place
of our banns is the acceptance of the suitor's presents
by the family of the sought and the announced betrothal
and intimation of the marriage to the governent.
In place of our answer "Yes" is the sacra-
mental drinking of wine. We may say "wine,"
because we are talking of high life and must use high
words. Sake, the universal spirituous beverage of
Japan, is made from fermented rice, and hence is prop-